Awakening Days at Dead River

Total Page:16

File Type:pdf, Size:1020Kb

Awakening Days at Dead River University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-13-2006 Awakening Days at Dead River Edward Curry Woodward University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Woodward, Edward Curry, "Awakening Days at Dead River" (2006). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/2763 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Awakening Days at Dead River by Edward Curry Woodward A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities College of Arts and Sciences University of South Florida Major Professor: Raymond Arsenault, Ph.D. Gary Mormino, Ph.D. Thomas Hallock, Ph.D. Date of Approval: November 13, 2006 Keywords: Swiftmud, Hillsborough, flood, hurricane, fish camp © Copyright 2006, Edward C. Woodward Acknowledgments Thanks to everyone associated with the Florida Studies Program. I’ve had an enriching experience exploring the nuances of our state. Thanks as well to those who shared their recollections and thoughts about Dead River. Finally, thanks to the staff at the State Archives of Florida and the Southwest Florida Water Management District. Their assistance was invaluable. Table of Contents ABSTRACT ii INTRODUCTION 1 CHAPTER ONE: DETECTING DEAD RIVER 5 CHAPTER TWO: FISH CAMP 12 No Close Calls 18 Returning to Dead River 21 CHAPTER THREE: DEAD RIVER DEVELOPS 24 Fish Tales 28 CHAPTER FOUR: ROAD WORK AND FLOODS: BOGGED DOWN BUT BONDING 36 Leaving, but Not Gone 41 Land Lost, but Memories Remain 43 Among the Last to Live at Dead River 46 Dead River Living Lessons 51 CHAPTER FIVE: SWIFTMUD EMERGES 57 Collapse of the Cabins 61 CHAPTER SIX: DEAD RIVER BECOMES A PARK 65 Family Life Returns 66 Dead River Duties 70 Leaving Dead River 71 Dead River’s Second Ranger 72 Woods and Wildlife 76 Anthrax to Alligators 79 Unexpected Meals 81 Dead River Full Circle 82 Bibliography 84 Appendices 88 Appendix A: Yates Map (“Dead River Chronicles,” June 2000) 89 Appendix B: SWFWMD Map of Dead River Park 90 Appendix C: Arise at Dead River - A Journal by Edward C. Woodward 91 i Awakening Days at Dead River Edward C. Woodward ABSTRACT Awakening Days at Dead River traces the history of a remote public park in north Hillsborough County that was once a privately-owned riverside enclave with modest cabins, and home to a popular fish camp on the Hillsborough River. The timeframe focuses on the mid-twentieth century to present, with a contextual background of earlier history in the immediate area. The story recounts the adventures and challenges of a select group of homeowners and visitors who experienced life on the Hillsborough and Dead Rivers during that timeframe. It also shows how the area evolved into a public property when regional flood control trumped private landownership, in some cases through eminent domain. Finally, the story shows how this event altered Dead River’s course from Florida developed, to Florida reclaimed, the clues of the former often hidden by the growth of the woods. Research entails: interviews with former Dead River homeowners and their families (some shared photographs), and people who frequented the fish camp; a journal with text and photographs by Dead River homeowner Arthur Yates; interviews with two year-round live-in rangers who have overseen Dead River since it became a park; studying records of the Southwest Florida Water Management District (SWFWMD or Swiftmud), the state-run agency that acquired the property to manage regional flooding , including detailed appraisals, maps and correspondence; interviews with Swiftmud ii officials associated with Dead River; and keeping a first-hand journal of observances walking the woods at Dead River and paddling its waters. As offered above, Dead River Park has many intriguing themes worth studying. That several of its former residents and weekenders are still living, are still Floridians, and have distinct memories of their “Old Florida” fun, makes it a timely study, as well. Finally, since Dead River Park is a public entity, it is worth knowing its history; park- goers might embrace its legacy as theirs. iii INTRODUCTION With his jeans rolled up to his knees, a dog by his side, and a flat boat to pole about, Ron Yates, in a family journal picture evoking images of Tom Sawyer, had a carefree smile in September 1960.1 A few days earlier, Hurricane Donna had swept through Florida and up the United States East Coast, causing $387 million in property damage. But for a young boy with a boat, flood waters meant fun at Dead River, a secluded weekend village named for the branch whose confluence with the Hillsborough River bordered the settlement. The village was populated more by sabal palms than people: ten homes, two miles from the nearest paved road, Tampa about a half-hour drive southwestward. Glancing at the black-and-white photograph, Ron and “Butch,” next door neighbor “Pa” Corbitt’s mutt, appear to be poling across the Hillsborough. But the picture’s caption explains otherwise: “Ron Yates is poling from “Pa” Corbetts [ sic ] back yard to Yates’ back step. This was the height of the flood.” 2 The flood would also be a catalyst to closing Dead River as a private retreat. Within six years of Hurricane Donna, and just over a decade after Dead River opened, a new state-agency would acquire the property for flood control. Donna came on the heels of heavy spring flooding. For four days in mid-March 1960, twenty-seven inches of rain soaked the west central region of Florida. “Worst Flood Batters Tampa Area,” proclaimed the 18 March front page headline of the Tampa Tribune ; flood waters rushed 1 Arthur Yates, “Dead River Chronicles, June 2000,” Yates family collection, Tampa, FL. Dead River homeowner Arthur Yates compiled an unpublished journal with pictures, maps and captions, known to his family, who shared their copies, as the “Dead River Chronicles.” Several family members have copies, including his son, Ron Yates, of Tampa, FL, whose copy is cited here. 2; Sun-Sentinel.com, “1960 – Hurricane Donna,” South Florida Sun-Sentinel, http://www.sun- sentinel.com/news/weather/hurricane/sfl-1960-hurricane,0,113082.story; Arthur Yates, “Dead River Chronicles.” 1 over the Hillsborough Dam. A dim outlook followed, as the Tribune reported, “swirling waters, still on the increase above and below the Hillsborough River dam and in the North Tampa area, yesterday had sent more than 1000 families fleeing from their homes.” Photographs show a boy standing atop a submerged car in a north Tampa neighborhood, Town ‘n’ Country Park. And Memorial Highway, a popular route linking Tampa and Clearwater, became a cascading waterfall. 3 By 1962, the United States Congress had initiated the Four River Basins, Florida Project, designed to control flood waters from the Hillsborough, Oklawaha, Peace, and Withlacoochee rivers, which share the same central Florida source, the Green Swamp. Co-sponsored by the United States Army Corps of Engineers (ACOE), plans called for an “extensive network of flood storage reservoirs and control facilities,” between the four rivers and the Green Swamp. 4 The Florida legislature created the Southwest Florida Water Management District, commonly known as Swiftmud (or SWFWMD), to oversee the project locally.5 By the mid 1960s, Swiftmud had begun acquiring the Dead River properties, as well as others within the rural Hillsborough River flood plain. About fifteen years and 17,000 acres later, the Lower Hillsborough Flood Detention Area would double as a densely-wooded recreation site for a booming region.6 Meanwhile, from July 1966 to 3 Southwest Florida Water Management District (SWFWMD), A Plan for the Use and Management of the Lower Hillsborough Flood Detention Area (Brooksville: SWFWMD, 1989), 4; SWFWMD, A Plan for the Use and Management of the Tampa Bypass/Harney Canal (Brooksville, FL: SWFWMD, 1990), 1; “Worst Flood Batters Tampa Area,” The Tampa Tribune, 19 March 1960, sec. 1A.; Vernon Bradford and Duane Bradford, “Flow Still Increasing in River,” The Tampa Tribune , 20 March 1960, sec. 1A.; The Tampa Tribune , 20 March 1960, sec. 1B; The Tampa Tribune , 20 March 1960, sec. 1A.. 4A Plan for Tampa Bypass/Harney Canal , 1. 5 Johanne Alexander, A History of Water Management at the SWFWMD, (Brooksville: SWFWMD, n.d.). 6 A Plan for the Lower Hillsborough Flood Detention Area , 4. 2 mid-1981, the Tampa Bypass Canal was built to divert Hillsborough River flood waters around the cities of Temple Terrace and Tampa to MacKay Bay. 7 About twenty years ago, Dead River was improved as a park, and maintained by Hillsborough County. Razed homes and four decades of forest growth have camouflaged clues of its incarnation as a remote village. Upriver, on park grounds, an elevated view of the Hillsborough suggests a gathering spot, but nothing remains of the fish camp that once beckoned boaters, swimmers, and fishermen. In roadside woods leading to the park, an abandoned John Deere tractor is now a makeshift planter: four leaf ferns and moss sprout from its front wheels. It’s no longer the John Henry of machines tirelessly grading an unpaved road or pulling out stuck cars. At the main picnic grounds, two riverside concrete steps attached to nothing lead nowhere; they once led “Pa” Corbitt from his house to the river. Across the way, in the woods, a pile of debris hints that items were discarded decades ago: old bottles and beer cans; a rusted child’s wagon; a tricycle wedged between two laurel oaks; a blue toddler cup with twisted top intact; and a crackled tea cup with yellow flowers.
Recommended publications
  • Cinefiles Document #31470
    Document Citation Title Mikio Naruse: a master of the Japanese cinema Author(s) Source American Film Institute Date 1985 Mar 08 Type program Language English Pagination 8-10 No. of Pages 3 Subjects Naruse, Mikio (1905-1969), Yotsuya, Tokyo, Japan Film Subjects Hideko no shasho-san (Hideko the bus conductress), Naruse, Mikio, 1941 Meshi (Repast), Naruse, Mikio, 1951 Inazuma (Lightning), Naruse, Mikio, 1952 Hikinige (Hit and run), Naruse, Mikio, 1966 Hataraku ikka (The whole family works), Naruse, Mikio, 1939 Koshiben gambare (Flunky, work hard!), Naruse, Mikio, 1931 Otome-gokoro sannin shimai (Three sisters with maiden hearts), Naruse, Mikio, 1935 Tsuruhachi Tsurujiro (Tsuruhachi and Tsurujiro), Naruse, Mikio, 1938 Tsuma yo bara no yo ni (Wife! Be like a rose!), Naruse, Mikio, 1935 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) Onna ga kaidan o agaru toki (When a woman ascends the stairs), Naruse, Mikio, 1960 Midaregumo (Scattered clouds), Naruse, Mikio, 1967 Yama no oto (Sound of the mountain), Naruse, Mikio, 1954 Ukigumo (Floating clouds), Naruse, Mikio, 1955 Iwashigumo (Summer clouds), Naruse, Mikio, 1958 Ani imoto (Older brother, younger sister), Naruse, Mikio, 1953 Midareru (Yearning), Naruse, Mikio, 1964 Tsuma to shite onna to shite (As a wife, as a woman), Naruse, Mikio, 1961 Horoki (Her lonely lane), Naruse, Mikio, 1962 Nagareru (Flowing), Naruse, Mikio, 1956 Bangiku (Late chrysanthemums), Naruse, Mikio, 1954 Fûfu (Husband and wife), Naruse, Mikio, 1953 Okasan (Mother), Naruse, Mikio, 1952 Kimi to wakarete (Apart from you), Naruse, Mikio, 1933 Kagirinaki hodo (Street without end), Naruse, Mikio, 1934 Yogoto no yume (Every night dreams), Naruse, Mikio, 1933 WARNING: This material may be protected by copyright law (Title 17 U.S.
    [Show full text]
  • Appendix: Films with Beach Endings
    APPENDIX: FILMS WITH BEACH ENDINGS Almost all of these are seashore beaches. Lakeside beaches are included only if they function like a seashore; the two riverside beach endings, Sweet Sixteen and Baciami ancora, are special cases. Penult means the beach scene is followed by a coda/epilogue elsewhere; ES that it falls within an ending sequence. Bookend means the ending repeats or ech- oes the beginning. C century; fb fashback; inc. includes; TVS TV = = = = series; TVMS TV miniseries; v-o voice-over; X-cut cross cut; = = = y-o year-old. Not all voice-overs are noted. = Countries of origin are all in capitals. If no country is mentioned, it is the USA; with co-productions, only the country where the flm is set is usually cited. AUS Australia; BRA Brazil; CAN Canada; = = = FR France; GEO Georgia; GER Germany; GRE Greece; = = = = HK Hong Kong; ICE Iceland; IND India; INDO = = = = Indonesia; IS Israel; IT Italy; JAP Japan; MEX Mexico; = = = = NE Netherlands; NZ New Zealand; POR Portugal; SP Spain; = = = = SWE Sweden; TUR Turkey; W GER West Germany. Some coun- = = = tries are named in full. *the ending is discussed further in the text. **the ending is illustrated in a frame grab. © The Editor(s) (if applicable) and The Author(s), under exclusive 273 license to Springer Nature Switzerland AG 2020 M. Walker, Endings in the Cinema, https://doi.org/10.1007/978-3-030-31657-0 274 APPENDIX: FILMS WITH BEACH ENDINGS 1900s 10 Gardian de la Camargue, Le FR: rejected in romance, man rides horse on beach and suicides in sea. 12 Sands of Dee, The* Heroine suicides in sea body ashore → → beach coda empty beach.
    [Show full text]
  • Dogs and Cats
    LET’S WATCH HENRY THOREAU PAY ATTENTION TO DOGS AND CATS “Domesticable animals are all alike; every undomesticable animal is undomesticable in its own way.” — Jared Diamond, GUNS, GERMS, AND STEEL: THE FATES OF HUMAN SOCIETIES (NY: W.W. Norton, 1997, page 157) WALDEN: Why do precisely these objects which we behold make a HITOPADESA world? Why has man just these species of animals for his neighbors; as if nothing but a mouse could have filled this ÆSOP crevice? I suspect that Pilpay & Co. have put animals to their XENOPHANES best use, for they are all beasts of burden, in a sense, made to carry some portion of our thoughts. PEOPLE OF WALDEN HDT WHAT? INDEX DOGS CANIS If you are a book person rather than a computer person, there is no reason whatever that you need to continue with this file. You can instead consult: •BONDS OF AFFECTION: THOREAU ON CATS AND DOGS / EDITED BY WESLEY T. MOTT / FOREWORD BY ELIZABETH MARSHALL THOMAS / ENGRAVINGS BY BARRY MOSER. (University of Massachusetts Press, Amherst & Boston; Published in cooperation with The Thoreau Society 2005) • Howard M. Chapin, DOGS IN EARLY NEW ENGLAND (Providence, Rhode Island, 1920) • William Pferd, III, DOGS OF THE AMERICAN INDIANS (Fairfax, Virginia: Denlinger’s Publishers, Ltd., 1987) • Maxwell Riddle, DOGS THROUGH HISTORY (Fairfax, Virginia: Denlinger’s Publishers, Ltd., 1987) • Eva L. Butler and Wendell S. Hadlock, DOGS OF THE NORTHEASTERN WOODLAND INDIANS. Robert Abbe Museum Bulletin, 13 (Bar Harbor, Maine, 1994), originally published in the Bulletin of the Massachusetts Archaeological Society, 10 (1949), 17-35 2 Copyright 2013 Austin Meredith HDT WHAT? INDEX CANIS DOGS 1839 August 31, Saturday: “Fall of 1839 up Merrimack to White Mountains.” As Lucy Maddox has unsympathetically pointed out in her REMOVALS: NINETEENTH-CENTURY AMERICAN LITERATURE AND THE POLITICS OF INDIAN AFFAIRS, “The journey that is recorded in WEEK took place in 1839, the year after the Trail of Tears (although Thoreau did not publish his book until ten years later).
    [Show full text]
  • MIKIO NARUSE: a MASTER of the JAPANESE CINEMA Opens at Moma September 23
    The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART For Immediate Release September 1985 MIKIO NARUSE: A MASTER OF THE JAPANESE CINEMA Opens at MoMA September 23 The distinctly Japanese world view of director Mikio Naruse is the subject of MIKIO NARUSE: A MASTER OF THE JAPANESE CINEMA, an exhibition of twenty-five subtitled films to be screened from September 23 to October 22, 1985* in The Museum of Modern Art's Roy and Niuta Titus Theater 1. Fourteen additional works will supplement the eleven films in last year's Naruse retrospective, which was organized by the Japan Society and the Museum's Department of Film (complete schedule attached). Naruse (1905-1965) held a darker view of the human condition than either Ozu or Mizoguchi, two Japanese directors with whom he is usually linked. His home dramas exposed the rigidity of the customs of daily life and the inflexibility of family bonds. Naruse scholar Audie Bock, who helped to organize the exhibition, states that "the determined characters of the Naruse film never give up. A stubborn dedication to their own self-respect in the face of overwhelming crassness, vulgarity, and exploitation, from even those who should be most sensitive and protective toward the individual, lends Naruse's heroines a distinctive nobility." Emotionalism and lyricism were a part of Naruse's richly detailed pictorial style, in spite of his basic defiant vision. He worked for forty-seven years within the studio system, yet refused to compromise on his exposure of life's falsehoods.
    [Show full text]
  • JAPANESE CINEMA DONALD Eichie Has Lodg Been the Internationally Acclaimed Expert on the Japanese Film
    JAPANESE CINEMA DONALD EiCHiE has loDg been the internationally acclaimed expert on the Japanese film. He is a former member of Uni- Japan Film and film critic for The Japan Times, and is pres- ently Curator of the Film Department at the Museum of Modern Art, New York. He designed and presented the Kurosawa and Ozu retrospectives, as well as the massive 1970 retrospective at the museum, The Japanese Film. His book on The Films of Akira Kurosawa has been called a "virtual model for future studies in the field." Mr. Richie has been a resident of Japan for the past twenty-five years. Film books by Donald Richie: The Cinematographic View: A Study of the Film. 1958. The Japanese Film: Art and Industry. 1959. Co-authored with Joseph L. Anderson. Japanese Movies. 1961. The Japanese Movie: An Illustrated History. 1965. The Films of Akira Kurosawa. 1965. George Stevens: An American Romantic. 1970. Japanese Cine2wa Film Style and National Character Donald Ricliie Anchor Books DOUBLEDAY & COMPANY, INC., GABDKN CTTY, NEW YORK This book is an extensively revised, expanded, and updated version of Japanese Movies, © 1961 by Japan Travel Bureau. Original material reprinted by pemMSsion of the Japan Travel Bureau, Inc., Japan. Library of Congress Catalog Card Number 77-163122 Copyright © 1971 by Donald Richie Copyright © 1961 by Japan Travel Bureau All Rights Reserved Printed in the United States of America CONTENTS List of Illiistrations vii Introduction xvii 1896-1945 1 194&-1971 59 Appendix 239 Index 250 LIST OF ILLUSTRATIONS The Abe Clan, 1938. 29 An Actor's Revenge, 1963.
    [Show full text]
  • The Golden Era of Japanesa Cinema
    THE GOLDEN ERA OF JAPANESE CINEMA The 1950s are widely considered the Golden Age of Japanese cinema. Three Japanese films from this decade made the Sight & Sound's 2002 Critics and Directors Poll for the best films of all time. Rashomon Seven Samurai Tokyo Story The period after the American Occupation led to a rise in diversity in movie distribution thanks to the increased output and popularity of the film studios: Toho Daiei Shochiku Nikkatsu Toei This period gave rise to the four great directors of Japanese cinema: Masaki Kobayashi Akira Kurosawa Kenji Mizoguchi Yasujirō Ozu. Two types of dramas Gendai–Geki : Contemporary Drama/Social Issues Jidai-Geki: Costume or Period Drama (Samurai Films) TIME LINE: 1946 - The Civil Censorship Department was created within the Civil Intelligence Section of the Supreme Commander for the Allied Powers. It exercised considerable influence over the operation and administration of the American Occupation of Japan after World War II. Bans 31 Separate topics from films – including imperial propaganda (i.e. Samurai Films) 1948 – US vs Paramount. The beginning the end for the studio system. 1949 November- The Civil Censorship Department becomes less heavy handed. 1950 - The decade started with Akira Kurosawa's Rashomon (1950), which won the Golden Lion at the Venice Film Festival in 1951 and the Academy Award for Best Foreign Language Film in 1952, and marked the entrance of Japanese cinema onto the world stage. It was also the breakout role for legendary star Toshiro Mifune. 1950 - The Blue Ribbon Awards were established in 1950. The first winner for Best Film was Until We Meet Again by Tadashi Imai.
    [Show full text]
  • The Tale of Matsura Michigan Monograph Series in Japanese Studies, Number 9
    The Tale of Matsura Michigan Monograph Series in Japanese Studies, Number 9 Center for Japanese Studies The University of Michigan The Tale of Matsura Teika's Experiment in Fiction Translated with an Introduction and Notes by Wayne P. Lammers Ann Arbor Center for Japanese Studies The University of Michigan 1992 Open access edition funded by the National Endowment for the Humanities/Andrew W. Mellon Foundation Humanities Open Book Program. © 1992 by the Center for Japanese Studies, The University of Michigan, 108 Lane Hall, Ann Arbor, MI 48109 The paper used in this publication meets the requirements of the ANSI Standard Z39.48-1984 (Permanence of Paper). Library of Congress Cataloging-in-Publication Data Matsura no Miya monogatari. English The tale of Matsura: Fujiwara Teika's experiment in fiction / translated with an introduction and notes by Wayne P. Lammers. p. cm.—(Michigan monograph series in Japanese studies ; no. 9) Translation of: Matsura no Miya monogatari. Includes bibliographical references and index. ISBN 0-939512-48-3 (alk. paper) I. Fujiwara, Sadaie, 1162-1241. II. Lammers, Wayne P., 1951-. III. Title. IV. Series. PL790.M34E5 1992 895.6'322—dc20 90-42197 CIP A Note on the Type This book was set in Caslon 540, a modern adaptation of a type designed by William Caslon (1692— 1766), greatest of English letter founders. The Caslon face, an artistic, easily read type, has enjoyed two centuries of ever-increasing popularity in our own country. The first copies of the Declaration of Independence and the first paper currency distributed to the citizens of the newborn nation were printed in this type face.
    [Show full text]
  • The Wolves at My Shadow: the Story of Ingelore Rothschild / Ingelore Rothschild; Edited by Darilyn Stahl Listort and Dennis Listort
    THE WOLVES AT MY SHADOW The Story of INGELORE ROTHSCHILD Our Lives: Diary, Memoir, and Letters Social history contests the construction of the past as the story of elites—a grand narrative dedicated to the actions of those in power. Our Lives seeks instead to make available voices from the past that might otherwise remain unheard. By foregrounding the experience of ordinary individuals, the series aims to demonstrate that history is ultimately the story of our lives, lives constituted in part by our response to the issues and events of the era into which we are born. Many of the voices in the series thus speak in the context of political and social events of the sort about which historians have traditionally written. What they have to say fills in the details, creating a richly varied portrait that celebrates the concrete, allowing broader historical settings to emerge between the lines. The series invites materials that are engagingly written and that contribute in some way to our understanding of the relationship between the individual and the collective. SERIES TITLES A Very Capable Life: The Autobiography of Rocks in the Water, Rocks in the Sun Zarah Petri Vilmond Joegodson Déralciné and John Leigh Walters Paul Jackson Letters from the Lost: A Memoir of The Teacher and the Superintendent: Discovery Native Schooling in the Alaskan Interior, Helen Waldstein Wilkes 1904–1918 Compiled and annotated by George E. A Woman of Valour: The Biography of Boulter II and Barbara Grigor-Taylor Marie-Louise Bouchard Labelle Claire Trépanier Leaving Iran: Between Migration and Exile Farideh Goldin Man Proposes, God Disposes: Recollections of a French Pioneer My Decade at Old Sun, My Lifetime of Hell Pierre Maturié, translated by Vivien Arthur Bear Chief Bosley The Wolves at My Shadow: The Story of Xwelíqwiya: The Life of a Stó:lō Matriarch Ingelore Rothschild Rena Point Bolton and Richard Daly Ingelore Rothschild, edited by Darilyn Stahl Listort and Dennis Listort Mission Life in Cree-Ojibwe Country: Memories of a Mother and Son Elizabeth Bingham Young and E.
    [Show full text]
  • News Release
    Brooklyn PeterJay SharpBuilding BAM RoseCinemas Academy 30 LafayetteAvenue Pressand Promotions of BrooklynNY 11217-1486 Molly B. Gross Music Telephone:718.636.4100 718.636.4129 x3 Fax:718.636.4179 [email protected] News Release BAMcinematek Presents The Best of the African Diaspora Film Festival, February 17-22, Featuring a Selection of Black Independent Films from Around the World For the fourth consecutive year, the ADFF brings the best films from their recent festival to BAM The Best of the African Diaspora Film Festival is part of Diverse Voices at BAM presented by Time Warner Inc. Brooklyn, January 18, 2006--From February 17-22, BAMcinematek, the repertory film program at BAM Rose Cinemas, in collaboration with The African Diaspora Film Festival, presents The Best of the African Diaspora Film Festival. This one-week series showcases twelve feature films, and several short films, that enjoyed critical and popular acclaim during the thirteenth annual African Diaspora Film Festival, representing black filmmaking from five continents and an extraordinary range of subjects and artistic approaches. Created in 1993 by the husband and wife team of Reinaldo Barroso-Spech and Diarah N'Daw­ Spech, the ADFF has long been delighting audiences with U.S. and world premieres of independent films, including features, documentaries, animation, and shorts. The New York Times applauds the Spechs' "international sensibilities" and their penchant for promoting work such as 2002's series favorite, the animated Kirikou and the Sorceress. "The ADFF is a bridge," say the Spechs, "between diverse communities looking for works that cannot be found in other festivals, and talented and visionary filmmakers and works that are part of the African Diaspora." ADFF's ultimate ambition is to see an "informed and talented community come together to exchange ideas and strategies for improving our respective worlds." "The black cinema experience in the U.S.
    [Show full text]
  • Japanese Cinema: Texts and Contexts
    JAPANESE CINEMA: TEXTS AND CONTEXTS Japanese Cinema: Texts and Contexts includes twenty-four chapters on key films of Japanese cinema, from the silent era to the present day, providing a com- prehensive introduction to Japanese cinema history and Japanese culture and society. Studying a range of important films, from Late Spring, Seven Samurai and In the Realm of the Senses to Godzilla, Hana-Bi and Ring, the collection includes discus- sion of all the major directors of Japanese cinema including Ozu, Mizoguchi, Kurosawa, Oshima, Suzuki, Kitano and Miyazaki. Each chapter discusses the film in relation to aesthetic, industrial or critical issues and ends with a complete filmography for each director. The book also includes a full glossary of terms and a comprehensive bibliography of readings on Japanese cinema. Bringing together leading international scholars and showcasing pioneering new research, this book is essential reading for all students and general readers interested in one of the world’s most important film industries. Contributors: Carole Cavanaugh, Darrell William Davis, Rayna Denison, David Desser, Linda Ehrlich, Freda Freiberg, Aaron Gerow, Alexander Jacoby, D. P. Martinez, Keiko I. McDonald, Joan Mellen, Daisuke Miyao, Mori Toshie, Abé Mark Nornes, Alastair Phillips, Michael Raine, Donald Richie, Catherine Russell, Isolde Standish, Julian Stringer, Mitsuyo Wada-Marciano, Yomota Inuhiko, Mitsuhiro Yoshimoto. Alastair Phillips is Associate Professor in Film Studies at the University of Warwick. Julian Stringer is Associate Professor in Film Studies at the University of Nottingham. JAPANESE CINEMA: TEXTS AND CONTEXTS Edited by Alastair Phillips and Julian Stringer First published 2007 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016, USA Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2007.
    [Show full text]
  • Impressions of the North Cascades
    NCCC - Impressions of the North Cascades Impressions of the North Cascades Essays about a Northwest Landscape Cover Table of Contents Acknowledgments General Introduction Part I: Landscapes of Memory Introduction to Part I Ancient Aires and Rock Romancing Keepers of the Beat Who Walks on the Ground A Home for the Spirits: An Interview with Vi Hilbert My Place in the Mountains Part II: Landscapes of Experience Introduction to Part II Beaver Is Greedy Cascade River: 1974- 1996 Finding My Way Home The Biggest Fence in the West Vignettes from a Field Journal Window in the Storm: A North Cascades Memoir Part III: Landscapes of http://www.northcascades.org/impressions/index.htm[11/22/2013 2:08:09 PM] NCCC - Impressions of the North Cascades Vision Introduction to Part III Songs of Green Edited by John C. Miles Mountains: A Naturalist's View of the North Illustrations by Dale Hamilton Cascades Sitec and Tomorrow in the North Cascades Landscape of Potential Published by Wild Speculations The Mountaineers 1001 SW Klickitat Way Notes Seattle, WA 98134 © 1996 by John C. Miles http://www.northcascades.org/impressions/index.htm[11/22/2013 2:08:09 PM] NCCC - Impressions of the North Cascades All rights reserved No part of this book may be reproduced in any form, or by any electronic, mechanical, or other means, without permission in writing from the publisher. Published simultaneously in Canada by Douglas & McIntyre, Ltd., 1615 Venables Street, Vancouver, B.C. V5L 2H1 Published simultaneously in Great Britain by Cordee, 3a DeMontfort Street, Leicester, England, LE1 7HD Manufactured in the United States of America Edited by Deborah Kaufmann Map by Green Rhino Graphics Illustrations by Dale Hamilton Cover design by Watson Graphics Book design by Alice C.
    [Show full text]
  • Mikio Naruse
    Filmprogramma 12 – 29 jan 2017 Floating Clouds (A Floating Cloud Mikio Naruse / Onbekende meester Ukigumo) van de Japanse cinema 1955 ©1955 Toho Co., Ltd. EYE Filmmuseum info & tickets Amsterdam eyefi lm.nl/naruse The Approach of Autumn ❊ Aki Tachinu 1960 2 ©1960 Toho Co., Ltd. De Japanse regisseur Mikio Naruse had een scherp Mikio oog voor de impact van de modernisering van Japan op het leven van gewone Japanners. EYE introduceert Naruse Naruse’s cinema in Nederland met veertien van zijn films. Een In Japan worden de films van Mikio Naruse in één adem genoemd met die van Akira Kurosawa, Yasujiro Ozu en fascinatie Kenji Mizoguchi. Kurosawa en Ozu gelden ook bij het Nederlandse filmtheaterpubliek als grote namen, en voor het liefhebbers van Japanse film zullen bekend zijn met het werk van Mizoguchi. Van Naruse zijn daarentegen slechts leven van enkele films verkrijgbaar op import-dvd, en voorlopig lijkt daar geen verandering in te komen. Wij zijn dan ook gewone bijzonder verheugd dat we deze regisseur in Nederland kunnen introduceren. In samenwerking met initiatiefnemer mensen en curator Dick Stegewerns werd een programma van veertien van zijn spraakmakendste films samengesteld. Leo van Hee Bezoekers van het programma Mubii Japan, dat EYE in 2015 organiseerde, hebben een al voorproefje kunnen Programmeur van EYE krijgen met de vertoning van Floating Clouds (1955), een film die wordt beschouwd als een van de beste Japanse films ooit gemaakt. InHet Parool werd geschreven: ‘Nergens lijden mensen aangrijpender onder de wispel- turigheid van de liefde dan in zijn films.’ Naruse staat bekend als een groot regisseur van vrouwen.
    [Show full text]